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  • Musipedia Of Metal

    Reviews: Exploring Birdsong, Mortiis, B*tthole Surfers, Duir (Matt Bladen, Cherie Curtis, Joe Guatieri & Adz Redpath)

    Exploring Birdsong - Every House We Built (Long Branch Records) [Matt Bladen]

    The debut from Exploring Birdsong has been long expected and anticipated, so long a brilliant live staple at shows and festivals, they have managed to find enough time to head to the studio to record their first full length record.

    Every House We Built is a conceptual metaphor for the creating a relationship, exploring human connections through a particularly intensely emotional and diverse musical style that is cinematic and intimate all at the same time.

    This thematic tether, means these songs are filled with refences to homes, foundations these things that build both places to dwell and relationships, poor quality of either leading to disaster, while the strongest last forever.

    Throughout the album, these themes are tested and tried, sense is made, lives changed, hearts broken but somehow there's always a chance for renewal, a feeling feeling of what comes from the ground, goes back to the ground and can always be rebuilt no matter how hard.

    Every House We Built opens with beautiful piano balladry of Archipelago that will stop you in your tracks, before we start properly with 42 where the likes of The Dirty Loops is the influence due to the funky slap bass, twinkling keys and lashings of groove.

    While Romanticise brings the 80's synthwave vibes of The Midnight, pulsating drum beats, electronic atmosphere and piano before the huge industrial power comes crashing in during the middle eight, the Djent influence of a band that has featured at Radar festival amongst others still a huge part of their sound. This is despite Exploring Birdsong using it like so many artists as a way to make their poppier approach heavier.

    With Every House We Built, the complexity of the are arrangements means that the loud metallic riffs are augmentations for other styles of music, here to get you grooving, or indicate catharsis and release. There's a glut of bands that I would call metal adjacent in that the influence is there and the music appears but it's in brief flashes behind something that's ultimately pop.

    For instance Sleep Token have been doing this for a long time so it's no wonder that Exploring Birdsong's Lyndsay Ward is part of the live Sleep Token line up, and has taken some of these tricks over into Exploring Birdsong, using them to accompany her fantastic vocal prowess while the impressive instrumental side comes from Jonny Knight (bass/synth) and Matt Harrison (drums/percussion).

    Mainstream pop acts are even incorporating these palm muted riffs into their work. However bands like Exploring Birdsong manage to get the mixture just right. Yes they're band driven by piano so with Spy In The House Of Love, where I can hear the Celtic influences of Steeleye Span and the electronic pop of Phil Collins or Mike & The Mechanics, but the heavier end comes on the darker edge of You Like It Best When It Hurts.

    I_You is an empowering song about love, while Cartography is another dramatic piano ballad, both of these bring to mind one of my favourite performers Sara Bareilles, while The Warning gives me the ethereal, string driven chills of Kate Bush.

    The innovative musical style of Exploring Birdsong means they can create a kaleidoscope of emotions with their music, though it's the title track that hits hardest as a "devastating portrayal of heartbreak and the sudden collapse of something once thought unshakeable" there's layers that build into a crescendo which serves as the collapsing endpoint, leading to Meadowlands where the cycle can start again.

    The expectation for this record has been high, personally Exploring Birdsong floored me when I saw them at Radar festival so I've personally been waiting for this for a long time. Every House We Built is the story of every experience, every foundation, every brick that has been built emotionally so far by this brilliant Liverpool act.

    This however is their debut and just the beginning, Exploring Birdsong are special, mark my words. 10/10

    Mortiis – Ghosts Of Europa (Dark Dungeon Music) [Cherie Curtis]

    I’m embarrassed to say that this album is the first I've ever heard of Mortiis and it’s real shame because I've been missing out all these years. I’ve found what I've been looking for and they’ve been under my nose this entire time and now I have a lot to catch up on.

    Mortiis has been lurking in the shadows since the 90s and previous albums like The Smell Of Rain has done well so it’s safe to say they know how to put out a great album. Mortiis has an addictive sound, one we never get to hear unless you dig out a dusty gothic rock record from the attic, they melt together an amalgamation of electronic rock and dark wave creating what you may know as dungeon synth.

    With their past successes tucked away in their back pockets, Ghosts Of Europa has 8 tracks of stunningly crafted groovy and yet hauntingly bitter and intense tracks to our scorching hot summer heatwave. This album is atmospheric and gloomy much more than their previous work by leaning heavily into their stylised and high fantasy image they’ve spawned in their earlier days. 

    This album primarily contains long and textured intros with layers of synths and keyboards that builds steadily before launching into a powerful swell of Ellefsen’s signature tortured vocals; The Faith That Fades Away is a prime example with airy female vocals to knock it out of the park with some energetic bangers like Tundra, Heart Of Hell and which sounds like classic Mortiis for the long-time fans.

    Ultimately, Ghosts Of Europa is a very strong album. Its deep and impactful and musically creative that shows a lot of thought went into it. You’re guaranteed to get goose bumps, and all that passion and energy is captured beautifully within an underrated genre that feels more like the score to a cinematic masterpiece, this album somehow makes music visual. 

    It comes to no surprise after 32 years, Mortiis gives us a sharp and professional piece of work. The overall mix and layout is great especially in the build ups and as you work your way through, there’s a captivating increase of tension. There’s a track that will make you cry, a track to make you dance, and a track to make cry again all the while feeling like the hottest version of yourself.

    As a Mortiis newbie, I have added this album to my favourites as well as all the others – and there’s a good few out there. I can’t recommend these guys enough if you aren't already a fan. 10/10

    Butthole Surfers - After The Astronaut (Sunset Blvd) [Joe Guatieri]

    The Butthole Surfers are a legendary American rock band who formed in Austin, Texas, all the way back in 1981. They were known for constantly pushing the envelope and challenging audiences both in the studio and live as well, their experimentation lead to a boom of creativity within Punk and in art when it needed it the most. 

    Records like Locust Abortion Technician and Hairway To Steven sound like no other, they constructed planets made out of people’s nightmares, developing a catalogue that is both genuinely deranged and terrifying. The most unexpected thing happened as in the 90s as songs of theirs like Pepper from Electriclarryland had chart success and were in constant rotation on MTV, how unfortunate for the general public.

    Gibby Haynes and Jeff Pinkus previously had a House project called The Jackofficers where they were indulging in new creative pastures in hopes of progressing their production and experimentation. After that brief fling of an endeavour, the Butthole Surfers were now finding themselves as a crossroads, they were looking at these trends and the rise of outsider music, Industrial, Hip Hop and Nu metal and seeing if they could grow big wings from that sphere and attempt to try and fly high to gain admiration again.

    Continuing on from that, today I’ll be having a look at an album of theirs that was never released until now, originally scheduled for 1998, After The Astronaut sees the Butthole Surfers playing catch up with their contemporaries and bands that were inspired by them like Ween, The Flaming Lips and Nine Inch Nails. They were flying the freak flag high and going even further than what the Butthole Surfers ever did, amplifying weirdness to an extreme volume which is hard to describe. 

    To provide some context, After the Astronaut was originally going to come out after Electriclarryland but due to a strained relationship with Capitol Records and splitting off from their manager Tom Bunch, the LP was shelved. The songs were later repurposed for Weird Revolution which came out a few years later. Now with After The Astronaut seeing the light of day, what will I say?

    The record opens with Weird Revolution, a four minute song where Gibby Haynes leads a political rally with a big Martin Luther King Jr.-esque speech about the weirdo’s of the world wanting complete separation from normality and freedom of self. The instrumentation is represented by an electronic Hip Hop beat which is the basis for most of the album, its paired Paul Leary’s classic guitar stabs which put impact upon the statement being made, it's anything but easy listening, it makes me want to get off my seat and take charge of my life.

    The following track Intelligent Guy (Astronaut Version) presents a more Boom bap flavour style of Hip Hop which is very much in the vein of the band's unexpected hit in Pepper. The guitar follows this click clack approach in a thick and fuzzy style, trying to give this song more of a soul. I can see what Intelligent Guy (Astronaut Version) is trying to do, it’s going for a more hypnotic feel, something for the listener to get lost in but unfortunately, with Gibby’s Run-D.M.C style rhymes, it doesn’t make it all the way there.

    Moving on we get track four with Mexico where a Pungi Flute becomes the star of the show. It makes for a beautiful melody in which the listener can finally tune in too. Gibby’s lyrics take the form of religious experiences, feeling like they were being dropped in a subconscious state, completely spontaneously. The instrumental sweeps me off my feet and just makes me want to dance like a cobra answering a snake charmer.

    Getting deeper into the track listing we get track seven with The Last Astronaut. Maybe the most unique song on this album, it’s glitchier than anything else here and feels both makeshift and broken at once as a result. There are heavenly pianos which stretch across the background like a comforting hug, finding a place of solace. 

    Those are at odds in battle to the death against buzzing synthesizers and noise throughout the duration of the piece. It all puts the song on red-alert, it has its guard up and is ready to evacuate spectators when problems escalate. It’s a tightrope of emotions between joy and anger. Much like the narrator at the end of the song, I’m only left with questions, “Control, are you there?”, “Is there anyone left?”, “It killed all of them”. Your sleep paralysis demon has come to life.

    Later on we get track ten with They Came In. Out of everything shown on After The Astronaut, this is definitely the most complete song here. Every element at play from King Coffey’s live busy drums, synths of all shapes and sizes that add colour to the mix and the groovy forever moving guitar, it’s not only got a pulse but it’s own style too. There are beat changes also which keeps the listener guessing from spacey psychedelics to the all out assault of guitar fuckery. They Came In is without a doubt my favourite song on After The Astronaut!

    Overall, the Butthole Surfers have seen a gap in the market that they didn’t need to feel. Some of the songs presented here feel so demo quality and primitive, like a ready-made template for Hip Hop beats but they all have that special Butthole Surfers sauce which makes them stick out like a sore thumb. 

    At its best After The Astronaut provides jams for people to get lost in and at worst the record is an afterthought. No matter what the Butthole Surfers do, they can’t avoid being themselves which has always been their best quality. They’ve never sold out! 7/10

    Duir - Catarsi (AOP Records) [Adz Redpath]

    Duir seem like a driven and focused group having toured extensively since their formation in 2013 they have shared stages with names like Darkend, Garea & Elvenking amongst many others they have evolved their image from the more classic black metal style to a more modern masked style in keeping with the likes of Batushka and aforementioned Gaerea which might not set them apart but certainly looks badass in the promo shots if seen. This is their second full length release after 2022's T.S.N.R.I - Impermanenza and a new chapter for the band it would seem.

    At over 45 minutes for 6 songs this is quite the opus, clearly recorded in a studio with zero programming and with a feel and production harking back to true early Scandinavian black metal in the most positive way this release has a refreshingly live and real feel to it. 

    Well layered vocally and with clear musical expression throughout incorporating eclectic traditional instrumentation ( Flute, bagpipes, hurdy gurdy ) in a way that adds and doesn't distract from the music and compliments and thankfully doesn't have any "cheesy" aspects at all. This may not be the most progressive black metal or musically adventurous having clear styling and feel that is consistent throughout, this has the vibes any true fan of the genre would gravitate towards all day long With solid playing and vocals from start to finish.

    My main critiques would be that the songs really are a touch too long, they have several repetitive riff ideas although despite this It does feel that it is represented more as a theme throughout the release similar to early Emperor or Immortal just not to such a captivating standard as the aforementioned. 

    The tracks Impeto and Oltre l'Alba are particular standouts with a great feel that truly takes you down that old school nostalgic black metal road where I almost wish I was listening to this on a cassette back in my teens in the best possible way. I would personally recommend these guys massively and would love to catch them live at some point and recommend you do also. 7/10

    Reviews: Voivod, Druidess, Tidal Wave, Mascot Moth (Rich Piva & Matt Bladen)

    Voivod - Symphonique (Centruy Media Records) [Rich Piva]

    It seems these days a lot of people, who may not have known before, know now how awesome Voivod is. The entire back catalog is anywhere from very good to God tier, and their influence is blabbered about by countless musicians. 

    Even their latest studio releases are essential listening. I am not sure if anyone saw this release coming from the Montreal legends. Not because it is a new live record, but because Symphonique is a live record of all the Voivod classics with the. Quebec Symphony Orchestra. 

    Now, metal bands doing live records with orchestras is old news, but what makes Symphonique unique to this particular form of live records is how complex Voivod compositions are and how hard it seems the band had to make the orchestra work to keep up. This is no string section playing along to Enter Sandman, this is some serious virtuoso stuff.

    I mean just listen to the perfect opener for this record, Experiment (indeed). Everyone is playing crazy shit with insane changes and nothing straightforward. Oh, and it’s killer. You get the chug of a track like Holographic Thinking while the orchestra builds behind it. 

    There is so much to love on here, but my favourites are the huge Forgotten In Space, which sounds like a deranged 50s sci fi movie soundtrack, Nuclear War, from their classic first record, and, of course, their take on the Pink Floyd classic, Astronomy Domine, which is even more mind blowing with an orchestra. The recording sounds amazing and the band(s) are super tight.

    Voivod fans will love this, because we are nerds and Voivod rules. This is no gimmick and no re-tread. The Voivod classics come alive (again) on Symphonique, breathing new life into songs we have been loving for decades as fans of one of the best and underrated bands out there still today. 9/10

    Druidess - Trip Meadow (Self Released) [Matt Bladen]

    Once More we plunge into the world of psychedelic stoner doom with Newcastle based Druidess present their debut album, Trip Meadow, having shared stages with some of the riff world's best and brightest.

    The band follow up their 2024 EP Hermits And Mandrakes with a a record that pulls more sonic inspiration than just Iommi worship, though of course you can hear Tony all over this record in Daniel Downing's guitar playing, his tone is sharp and fuzzy (Descended From Giants), rarely going fully clean, though he switches to sax to bring a slight jazz flair on Witches Sabbath, it's the riffs though that matters most.

    With Trip Meadow they taking more mind altering route through 60's psychedelia (Mandragora) as James Hill's keys/organs as muscular as the thunderous riffs on the Green Lung-like Title Track which shifts from heavyweight classics rock thunder to bass/drum driven grooves.

    Sam Armstrong's drums are huge, setting the steady doom pace on the title track while on Knightingales there's a drive to them. Shonagh Brown meanwhile gives us the head nodding bass rhythms and reverbed, otherworldly vocals, drawn from the astral plane.

    Druidess fit comfortably into the modern occult doom crowd, guitars and organs bleeding together, lyrics drawn from Albion's history/mythology all wrapped in retro trappings. Trip Meadow defines Druidess' journey so far. 8/10

    Tidal Wave - Volume Tree (Ripple Music) [Rich Piva]

    Tidal Wave started like a good morning, with Blueberry Muffin, their debut record that blew people away. It was a hard act to follow but The Lord Knows they were able to with The Lord Knows. 

    Now, Ripple Music brings us their latest record, the cleverly named Volume Tree. It took me a second, but their take on doomy stoner rock once again has these guys from Sundsvall, Sweden stand out amongst the throngs of bands doing this today both with their excellent playing and witty lyrical stylings.

    The Orb kicks it off, a doomy number with the great vocals we have come to love from Tidal Wave. You even get a nice death growl. The album is recorded expertly, really capturing the band’s sound, and a special shout to 'Raz' Sundberg who kills it on the drums throughout Volume Tree. I love the groove on the next one, Hangman, that is until it gets a bit trippy to make the riff even more filthy when it returns as he is swinging his axe so hard. I love the different tempos on this one. 

    Earth is some serious Sabbath worship done Tidal Wave style, and it works so very well. Temple Of Humanity is an interesting one. It almost reminds me of one of those slowed down early 80s metal tracks, and it works very well within the confines of the record. Good stuff. The dual guitar adds to that 80s metal vibe. 

    Sideburns is where the sense of humour comes out, but it comes with a killer riff and excellent vocals (as usual with these guys). Shapeshifter has this rawness to it and kicks ass while Manuscript: 512 is the stoner rock banger everyone expects from Tidal Wave. Skitliv closes the record out in an interesting and chill way, with more 80s vibes from which I hear Scorpions all over it. Oh, and that solo.

    Volume Tree is another great record from Tidal Wave. Don’t compare the previous works from the band because they are all great, just let Volume Tree live on its own and enjoy it for all that it is; a very cool imagination of the genres of heavy music these guys love. 8/10

    Mascot Moth - MOTHerSHIP (Self Released) [Matt Bladen]

    Since 2015 Mascot Moth have been the premier prog, jazz. rock combo from Cymru (that's Wales for you non Welsh), they cross musical boundaries several times on all of their records.

    Journeying into the outer reaches of space with psychedelic wandering of Hawkwond, the depths of the earth with blues, through smoke filled clubs with sax driven jazz of Krautrock and into the gardens and rolling hills of their homeland with pastoral folkisms drawn from the Canterbury scene.

    Their new album MOTHerSHIP is another hour of sonic exploration that sees this experimental crew of Sioned Camlin (drums/vocals), Rob Harrison (flute/saxophone), Eric Heath (synths), Jack Hunter (bass/keys/vocals), David Thomas (guitar/trumpet/vocals) and Gavin Williamson-King (synths) combining their powers.

    Ellis The Horn comes from Captain Beefheart jazz, while (I Think I'm) Grooving It goes into some funk shaking, Whatever It Was combines Frank Zappa with Can and with just three songs you can hear the sort of band Mascot Moth are, paying homage to a particular era when prog was daring and leaned into other genres.

    The dreamy Lullaby In Giliminour the first prog rock masterclass on the record with sweeping guitars against flutes, You're On Your Phone meanwhile puts funk with Styx synth/vocoder, it's an alchemic mix of styles that keep things quirky but catchy. Fans of Krautrock, Psych and Canterbury prog will love this record, the MOTHerSHIP has landed and if this is your first contact be not afraid. 8/10

    Reviews: Elder, Prince Of Failure, Alunah/Samavayo, Leoni Jane Kennedy (Rich Piva & Matt Bladen)

    Elder - Through Zero (Stickman Records) [Rich Piva]

    I have heard whispers from long time fans that Elder, one of the biggest bands who have broken through out of the heavy underground, have gone too soft. They are too prog, they are more Yes than anything else at this point. 

    I also saw that Elder’s new record, Through Zero, finished at number one on the May Doom Charts, and it wasn’t even close, even with All Them Witches putting out a record the same day. Is Elder more proggy now? Absolutely. Are they a better band musically now? Yup. Is Through Zero amazing and some of the best stuff they have ever done? A resounding yes indeed.

    Sigil To Ruin, the opener, simply rules. How clean the recording can sound without being overproduced is pretty amazing. The guys rip it up on this one too, as we get some seriously killer guitar work to go along with the atmospheric prog. The synths on Capture/Release add to the complexities of the proggy/Krautrock composition that, when it kicks in, is a beautiful piece of art, with Nick DiSalvo’s vocals never sounding better and the guitar work from him and Michael Risberg at another level, even for Elder. 

    The changes are so great as these guys are just locked in. The title track has a nice chunky riff no one will say is too soft and the build on this one is just epic. If people want to say there is too much Yes going on listening to Through Zero they may call out Strata. This one is eleven minutes of proggy atmospheric goodness, with layered vocals, cool changes, and a ton of complexity. I wonder if the same people who say Elder is too proggy love King Buffalo? To be clear, I love King Buffalo, but I digress. 

    Sight Unseen goes towards Krautrock again in parts, but there is always this underlying heavy in these songs, no matter if the naysayers want to hear it or not. Just listen at about 5:30 and you will see what I mean. Closing with the most chill song on the record, Blighted Age, is a nice comedown from all of the complexity on the record, and doubles down on the beautiful atmosphere Through Zero brings.

    I am probably (absolutely) overstating the new Elder naysayers, but I think they come across louder because there really has been no pushback before on their material. Rest assured people, Through Zero has everything you want from Elder, and more. Yeah, it is not recorded in a garage or shed, and yes more time and money can now go into the recordings, but the songs are still top notch and the band continues to grow as musicians and songwriters. 

    This is top top top shelf stuff that should not be ignored because they are bigger now. Elder still rules and this record is truly something to behold. 9/10

    Prince Of Failure - Prince Of Failure (Kscope) [Matt Bladen]

    Daniel Tompkins is one of the premiere voices in the metal world, his work with Tesseract has made them one of the best modern metal bands to come out of the UK in years, moving away from their initial Djent groupings into something more well rounded and brilliant than us lowly journalists could have predicted in the beginning.

    Away from that though he's and in demand guest vocalist and has his own solo project where he can show a side that's not always heard in Tesseract. Both of his solo albums Castles and Ruins were just as inventive as his day job but added soundscapes that you may not have heard, one was also a reinterpretation of the other so clearly Daniel has a mind that is ever creating.

    From that mind comes Prince Of Failure a project that deals with "neurodivergence, masking, and the psychological weight of living out of alignment with expectation" created over a long period of time alongside Paul Ortiz aka Chimp Spanner another originator of that Djent sound that is now so ubiquitous in both metal and modern pop too.

    Rather than being a solo project or having it compared to either man's musical legacy, Prince Of Failure is it's own creation, a true collaboration that has grown into something familiar but different. The blending of oscillating electronics, intense guitar workouts and floating ambience with the intimately emotive vocals highlights the skillset of both men but never takes this album off into needless virtuosity.

    It's an album that is song focussed and projects it narrative theme through the dynamic music this duo create as Ortiz's instrumental brilliance drives a darker edged sound than falls back to those djent early days but retains all the modernity of where it is now with track such as the menacing Phantom where Daniel's vocals are at their rawest and most melodic too, the deeply personal lyrics about living in shame of who you really are and masking that for the everyday really resonating.

    It's told with a narrative arc, from the initial self pity though to self acceptance, built within a world of progressive, atmospheric and expertly crafted instrumentals by Ortiz that accentuate the vocal brilliance of Tompkins, joined by Krystyn Hope of Daedric. Fans of Tesseract, Chimp Spanner will obviously love this but it's also hinged on the style of Karnivool or any band that is signed to Kscope.

    No sign of failure here Ortiz and Tompkins are a winning combination. 9/10

    Alunah/Samavayo - Embers Of Belief (Heavy Psych Sounds) [Rich Piva]

    I love a good split album. Labels like Ripple Music and Heavy Psych Sounds have really perfected this form of release. The latter are up now with their latest split from two killer bands: UK’s Alunah and Germany’s Samavayo. These two bands have released some killer stuff before, and this does not stop on this split album, titled Embers of Belief.

    Starting with four tracks from Alunah, who are now featuring a new lead vocalist, Daisy Savage, who brings a more Pat Benatar poppy feel to the big riffs and proto sounds of the band. When I say “poppy” this is a complement; Savage’s voice fits perfectly with the sound of the band, with case in point being the opener, On Blacklow Hill, which comes along with a killer riff too. 

    La Pucelle has some killer guitar work and shows a bit of Savage's range as a vocalist. The other two Alunah tracks are live and feature Savage’s debut as the new singer, taking on two previously recorded tracks, Hazy Jane (from 2024’s Fever Dream) and a melody from their 2019 record, Violent Hour. Both sound excellent and show how Savage will be a welcomed addition to the band.

    Samavayo brings their heavy stoner psych stylings to three tracks. First, the crunchy BAVAR, which has interesting origins to the point that is worth checking out the description of it on their Bandcamp page, but all you need to know here is that it is very, very cool. Mottainai is an aggressive number that shows the band’s heavier side and rips it up. California Sky is an interesting one. A ten minute acoustic psych number inspired by their US tour and trip to the desert. Very cool stuff.

    Another cool split from Heavy Psych Sounds. It was a great move by Alunah to get some tracks out there with their new singer to show how perfectly she fits in the band, while Samavayo do their thing like they seem to always do. Good stuff from two great bands. 7/10

    Leoni Jane Kennedy - Synthetic (Self Released) [Matt Bladen]

    There aren't many artists who can tour with both neo-prog outfit Solstice and veteran blues man Walter Trout, but Leoni Jane Kennedy is just that sort of artist. The PRS Guitars sponsored artist, multi award winner and recipient of the Freddie Mercury Scholarship which financed her university tuition.

    She's previously released acoustic versions for Rush classics on New World Woman but returns with an album of her own material that was financed by her fans through Kickstarter in just 6 days. A few of these songs have been with Kennedy for many years but they are all presented here for the first time to an audience that are now well aware of Kennedy's style of inventive, progressive rock.

    Leoni takes vocals, guitars on the record, co-producing with Eliot Kennedy who mixes, masters and Nick Andrew who assisted in production and engineering while also playing synths and Midi Guitar. It's a record that sounds lush and vast, which lets Leoni express her inventive sound fully, moving away from the covers many will associate her with and into a world created by her own compositions.

    Will Plunkett plays bass, James Jackman plays drums, the driving, expressive rhythms to Kennedy's fluid playing and soulful vocals ala Susan Tedeschi. From the orchestral title track, through the jazzy Closer, there's musical dexterity to this release with the dreamy Sloe reminding me of Jeff Buckley while Test The Water and Different Kind Of Woman brings a bit of bluesing.

    Synthetic is an excellent record from Leoni Jane Kennedy, blues, prog and more there's lots here to love. 8/10

    A View From Blackweir: The Cure (Matt Bladen)

    The Cure, The Twilight Sad & The Joy Formidable, Blackweir Live, Cardiff 24.06.26



    Remember folks: "Goths Die In Hot Fields" and it didn't get much hotter than today, the warmest June day on record saw 35,000 decamp to Blackweir Fields, Cardiff newest outdoor event space, to take in the indie/goth/rock pioneers, and Olivia Rodrigo's favourite band.

    Before all that though we made our way across the vast field filling up our water bottles and looking for the promised additional shade, which didn't appear, we settled into place for Flintshire alt rockers The Joy Formidable (8).

    They began the evening loudly with some jangling post rock guitars, alt rock grooves and dual vocals from guitarist Rhiannon "Ritzy" Bryan and bassist Rhydian Dafydd, accompanied by their current drummer and another member who shifted between keys and singing saw, they're a big sounding band, despite basically being a duo, at a crossroads where post meet alt rock.

    With the final "Diolch" they left the stage to applause from the early arrivers as the files began to fill for the headliners. This meant that The Twilight Sad (7) had a bigger crowd and while their style is a bit more theatrical, their music did sort of blend into one grungy post punk noise at times.

    The issue is differentiation, the music is suposiyto be the focus here, each track adding to the stage performance, the licks and melodies of guitarist Andy MacFarlane, flowing through the body of vocalist James Graham who releases them into the world through his voice. I get it, but I did find little variation in what they do, still, it set the right moody atmosphere for what was to come.

    Now the field felt like 35,000, all here to worship his gothness Robert Smith and as the chimes began the lights came down and Robert along with his band of misery makers took to the stage in Cardiff to a heroes welcome. Smith took his bows, stepped up the microphone and the magic began with Plainsong, Cardiff bewitched by The Cure (10) and the usual mammoth set list.

    Much like New Jersey's favourite son Bruce Springsteen, The Cure setlists are fluid beasts, often hooked around a few "key songs" and then drawing songs from across the various albums and styles The Cure have adopted over the years. Be that electronic industrial bruising, driving post punk, moody goth shoegazing or shimmering new wave pop.

    There's even time for, as my colleague put it, "Mr Smith's House Of Funk" all bass and choppy guitars but mostly this was The Cure in goth opulence as six from this set of twenty eight(!) songs came from 1989's Disintegration, with four from Head On The Door and the rest from another seven of their fourteen albums, even busting out Burn (very apt for the day) from their rarities collection and Wrong Number from their 1997 single release, as well as Hot! Hot! Hot! which too was apt for the day. 

    Ultimately though, amongst the sold out crowd those that were down the front would have been hanging on every single song but for the rest it's Pictures Of You, Just Like Heaven, A Forest, Disintegration , Friday I'm In Love, Lovecats and Boys Don't Cry that illicit the biggest cheers.

    With these in their arsenal and the shifting setlist, it's easy to see why so many people would put The Cure as their favourite band and it's a testament to the enduring legacy, as they managed to indoctrinate this hardened metalhead into the cult of Robert Smith.
    A View From The Back Of The Room: Drowning Pool/Spineshank (Alex Tobias)

    Drowning Pool/Spineshank & Silly Goose, Tramshed, Cardiff 16.06.26

    There are gigs that ease you into the evening, and then there are gigs that kick the doors off their hinges before you've even finished your first drink. The June 16 stop of Drowning Pool and Spineshank's UK run at the legendary TramShed belonged firmly in the latter, delivering a sweaty, bruising celebration of nu-metal's legacy. With Atlanta chaos merchants Silly Goose opening proceedings, Cardiff was treated to a three-band bill that never once let the energy dip.

    If anyone in the room arrived unfamiliar with Silly Goose (7), they certainly weren't by the end of their set. The Atlanta outfit stormed the stage with the kind of swagger and reckless enthusiasm that feels increasingly rare. Blending rap-rock attitude, hardcore aggression and a non stop energy boost that lasted the entire time they were on stage. They turned the packed venue into a bouncing mass of limbs within minutes.

    Their performance felt less like an opening set and more like a challenge issued directly to the audience: keep up if you can. Frontman antics, relentless grooves and a wall of low-end punishment immediately established the tone for the evening. As support acts go, this was a masterclass in how to win over a room.

    Spineshank (8) have always occupied a unique place in my music collection and brain ever since I heard the bands first album, sitting somewhere between industrial precision and nu-metal groove. On stage in Cardiff, they sounded anything but nostalgic.

    From the opening moments, the Californian veterans were razor sharp. We start with four songs from The Height Of Callousness album, Asthmatic, Synthetic, (Can't Be) Fixed and Cyanide 2600 which everyone in the building sings at the top of their lungs before the band switch to material from their other albums to mix it up. 

    Vocalist Johnny Santos states that he and the band are so humble to have had been given the amazing welcome the band have from Wales all day before praising new friends Silly Goose and oldest brothers in the game, Drowning Pool. The mechanical riffs hit with machine-like accuracy while the electronic textures that helped define their sound add a layer of menace many modern bands still struggle to replicate. More importantly, the songs have aged remarkably well.

    The crowd response suggested many had waited a long time to see these tracks performed live again. Circle pits erupted throughout the set, while every recognisable chorus was met with a roar from all here tonight. The band round off the set with Dead To Me from the bands 2003 album Self-Destructive Pattern which sent everyone into even more of a frenzy of pits and joy. Rather than feeling like a reunion cash-in, Spineshank looked and sounded like a band with unfinished business.

    Drowning Pool (8) took the stage and this Tramshed crowd was primed for absolute carnage.

    The Texas metal veterans have spent years proving that they're far more than a one-song band, but let's be honest: everyone knew what was coming eventually. The band get going with classic after classic in the shape of Sinner, from the bands first album then switching up through the bands very impressive back catalogue with Feel Like I Do and no stops straight into the classic Step Up from 2004s album Desensitized. This is a set packed with groove, aggression and crowd participation.

    Jasen Moreno remains a formidable frontman, effortlessly commanding the room while balancing the band's heavier moments with an infectious sense of fun. The rhythm section hit like a wrecking ball, while CJ Pierce's riffs still possess the simple, devastating effectiveness that made Drowning Pool such a force in the first place.

    We then come to the awesome cover of Rebel Yell which sends everyone here crazy with surfs and pitting with singing almost louder than the noise coming from the stage. When Bodies finally arrived, the reaction bordered on predictable chaos. Hundreds of voices united, the floor became a sea of movement and for a few glorious minutes Cardiff collectively lost its mind. It was exactly the moment everyone wanted and the band delivered it flawlessly.

    This wasn't a nostalgia trip. It was a reminder that heavy music built on riffs, hooks and genuine crowd connection still works exactly as intended.

    Silly Goose brought the unpredictability. Spineshank delivered precision and intensity. Drowning Pool provided the anthems and the payoff.

    Three bands, three very different approaches to heavy music, and one of the most relentlessly entertaining metal shows Cardiff has hosted this year so far.